Visual Rhetoric in Persepolis

Nils Tangemann Josh Holland English A SL C-Code Section Part 3 Works read Satrapi, Marjane. Persepolis. Pantheon. New York. 2003 Question How and why is a cordial group represented in a particular way? The let break of Revolutionists in Marjane Satrapis Persepolis In Marjane Satrapis Persepolis there are some(prenominal) important sociable groups t wear all play a role towards creating the square picture that describes little Marjis everyday life in seventies Iran. The nature of the revolution during that time created a huge divide amidst the different social groups.This was dominated by different opinions that were imparted using violence, intimidation and other mental and physical threatening methods. Satrapi uses visual mental representation and plot devices in her graphic novel Persepolis to expose the finesse of the Moslem revolution. First of all, the agent displays all members of the army and Islamic revolutionary groups without all distinction from each other th ey are one homogenous group. Secondly, a stratum about the corruptness of natural lawmen and regime officials is used to demonstrate how stray those community act towards their fake values that they preach to other people.Lastly, the circumstance that the army is recruiting new soldiers through a method that is obviously aimed at non- or little-educated youth shows that the politicsn is scared of the higher educated population knowing that they will not have a chance in recruiting this social group because of their opposition. An aspect of the novel that comes to mind immediately when course session the text is Satrapis choice to display the members of the revolutionist Islamic administration in a different way than the family or friends of ten social class old Marji.While the individuals that are a direct part of Marjis social life are displayed in great detail, the revolutionists are always shown in a more general fashion, therefore not distinguishing those characters. An example of this scum bag be found in the chapter The bicycle when the burning down of a cinema by police forces is described (Satrapi 14). Using this technique, the followers of the regime are displayed as individuals that do not have an individual opinion, hardly rather blend into the crowd of people and go with the mainstream ideology hat is prevalent during the current political situation. This makes this social group stand out in such a way that the reader considers them generally as less educated and unable to question the political views that society has. The fact that Satrapi shows the persons that lean towards the more communistic political opinion in great detail than revolutionists shows her political beliefs, therefore furthering the idea that this novel shtup be considered a memoir. In addition, the policemen of the revolutionary regime are depicted as corrupt and detached from their values.When the family almost gets caught having alcohol in their house, the po licemen accept bills from Marjis father and leave again without checking his flat (Satrapi 10). If the actual ghostlike core values of the regime were important to those policemen, they would not have left field the site without checking, since the possession of forbidden substances is obvious to them. This depicts how separated the followers of the regime are from their own values that they promote.Satrapi tells the reader this story because she wants to expose the hypocrisy with which the government officials and therefore besides the police operates. In this case, the author uses a plot device to express her political opinion. She makes the conscious decision to entangle this memory in her novel because it illustrates her opposition to the government and demonstrates a unafraid reason why using these policemen as bait. Similarly, in Marjis explanation the army uses techniques that clearly aim for the less educated and poor people to join the military.A plastic key on a chai n is distri unlessed to the less educated in order to convince them that they will go to enlightenment if they fight for their country. Satrapi uses the dialogue between her mother and their housekeeper to indicate how upset the top(prenominal) social class us about the strategy that the government uses to influence the innocent youth of Iran (Satrapi 99). The government clearly aims for the young adults that do not have much of a choice other than joining the army and dying at a young age.On top of that, they are to a fault naive enough to believe that the key will bring them to heaven. Mrs. Nasrine tells the story of how her son is being convinced to go to the army (Satrapi 100). The family helps to convince Mrs. Nasrines son that the government is spreading lies (Satrapi 101). Marjis mother is debunking the myths of the government in front of everyones eyes. The author uses this technique to express her own, electronegative opinion for the government and the manner in which the y treat the young adults and not caring about their lives.In conclusion, certain techniques of visual rhetoric and plot devices can be detected in the novel and are utilized to express the personalized opinion of the author whilst displaying the revolutionary government as amateurish and unqualified. The followers of the regime are displayed homogenously without distinct characteristics or an individual opinion. The police that is associated with the government is corrupt and the methods of recruiting new soldiers for the army are only mean for uneducated and naive people because others cannot be tricked into the belief of going to heaven.The author makes great use of this technique not only when describing the revolutionists, but also when she is delivering her own opinion about how women were treated in Iran during her childhood. When deciphering these methods and finding the unfathomed comments on the social structure we really see the author in her mid-forties who is writing . The novel far expands from the view of a ten class old and is not only a story of a childhood, but also a critical commentary on moral issues and personal opinion. Word count 958 Citation Satrapi, Marjane. Persepolis. Pantheon. New York. 2003.